"Fuzzy Meadows: The Week in Review" is a weekly round-up of the best new music premiered this week across the internet. It's a weekly embarrassment of riches, let Post-Trash be your guide. It's the weekend, here's what happened...

"The quartet have only performed at a handful of shows but if this debut single is anything to go by, their sets are packed with louche post-punk, all starkly angled guitar lines and minimalist beats with vocals that bark and march and pull you up by your boot straps" - Kim Taylor Bennett, Noisey

"USA Nails – a heavy new group make from the embers of Oceansize, Hawk Eyes, Kong, Future of the Left, Silent Front and Dead Arms. Of the record, the group say: “We had a lot of fun making this record and we’re mighty proud of it. We have just come back from a 10 date European tour across the UK, France, Belgium and Germany where we played the whole thing in it’s entirety every night. Hardly anyone walked out or threw bottles at us, so it’s probably not totally crap.”

"Brooklyn's Bethlehem Steel play around the local DIY scene a lot and they've got a sound that a lot of bands in that scene do: crunchy, catchy indie rock. What sets them apart though is Becca's voice, which pierces through the mix and also has a folky quality to it. Sometimes they sound like Angel Olsen fronting Weezer. The band's new EP Docking, recorded with Nick Corbo of LVL UP and Crying at Shea Stadium and David Blaine's The Steakhouse, comes out this Friday via Miscreant Records" - Andrew Sacher, Brooklyn Vegan

"Seattle three-piece Night Beats step out of a dusky crime thriller soundtrack. Their rough-edged, night-cruising take on trusty rock ’n roll has the hallmarks of a violent, all-thrills montage, and there’s no messing around when it comes to new song ‘Sunday Mourning’." - Jamie Milton, DIY

"Weapons was their fifth and final album, and though it was set to be released in 1999 on MIA Records, that label went under and the band broke up before it could come out. Eventually Fueled By Ramen put it out in 2001, and despite Frodus no longer existing as a band, the album had a lasting impact that helped inspire the 2000s wave of post-hardcore that was just starting to near the mainstream at the time." - Andrew Sacher, Brooklyn Vegan

"...weirdness soon took hold, crawling into the dank headspace between the Swedish noise-rock band Brainbombs and Black Flag's most deranged output. After a short breakup, the band returned without missing a step, releasing the depraved Looking For Love EP in 2014. Total Abuse's fourth album, Excluded, is a mud-slop synthesis of the sludgy noise, lunging rhythm section and oddly catchy hooks that came before it." - Lars Gotrich, NPR

"25 years ago today, Slowdive released their self-titled debut EP on Creation. To mark the occasion, they've shared a live version of "Avalyn", recorded in 2014 during their North American tour. In a detailed post on the record's writing and recording process, they also hinted that a live album from the tour was in the works." - Jazz Monroe, Pitchfork

"The Brainstems originally formed as a Ty Segall and the Coachwhips cover band, and these inspirations are still clear in their feedback-filled garage rock. Their vocalist shares a singing pattern with Parquet Courts’ Andrew Savage, too, which lends the St. Louis band a sense of detached cool." - Grace Birnstengel, Stereogum

"The Seattle trio, comprised of scene veterans Rachel Ratner, Matt Nyce, and Dave Ramm, make self-aware slacker rock that flirts with 21st century nihilism, laziness, ennui, and all the necessary components of cynicism that allow any normal person to function on a daily basis." - Matt Grosinger, Nerdist

"Fronted by vocalist Veronica Torres' uninhibited force of paranoia, PILL makes spazzy, sax-sputtering post-punk that invokes the gritty noise that came out of early '80s NYC. How you feel about the video for PILL's dreamy and unnerving "Hot Glue" depends on how you feel about pointy press-on nails, phallic produce and pills." - Lars Gotrich, NPR

"Fit Me In is pop music the way Frankie Cosmos' earlier work was rock music: in a niche sense only. It carries the casual air of its predecessors, invitingly simple and intimate, still warm despite the software that's been subbed in for guitars." - Sasha Geffen, Vulture

"While they refer to themselves as dissonant no-wave or (a personal favorite of mine) trash jazz, “Birthday” begins in total conflict to those descriptors. Beautifully lifted from the floor, a slow drum beat and keys bring immediate recognizability to their avant art. Maybe it’s Lamb’s university training in composition, but no use of off-time snare hits and saxophone skronk could sway “Birthday” from the beauty in its craft." - Derek Evers, Impose